Screaming Females
Screaming Females had such a clear goal for their new album that it became almost a mantra: they wanted songs that were concise, crisp and melodic. That’s exactly what the New Jersey punk trio delivers on Rose Mountain, their sixth LP, due in February on Don Giovanni Records.
The album is a milestone in a number of ways. Not only does Rose Mountain reflect a new approach to the band’s songwriting, the LP marks the first time Screaming Females have worked with an outside producer, and comes as the trio celebrates 10 years together.
“I’m very pleased and proud of us as a band for playing together for so long,” says singer and guitarist Marissa Paternoster, who formed Screaming Females in 2005 with bassist Michael Abbate and drummer Jarrett Dougherty.
Their longevity helped prompt the concise-crisp-melodic mantra for Rose Mountain. Although melody has always been a central part of the band’s music, the musicians have often layered them into massive thickets of interlocking sound on previous albums. They were ready to try something more streamlined with the 10 new songs on Rose Mountain.
“Our last three releases were dense musically,” Dougherty says. “This time, we tried to really hone in on what was important about the songs and get rid of what wasn’t important.”
The trio decided the vocal melodies were particularly important, and were careful to leave room for them while they were writing the new songs. “Before we got to that point where we had a complete, complex, intricate thing instrumentally, we stopped and said, ‘Let’s not finish this off, let’s let the vocals finish this off,’” Dougherty says.
The restraint they showed in writing the tunes didn’t affect the riveting intensity the band brought to playing them. You can hear it on “Empty Head,” the taut, lean album opener. It’s there in the interplay between serrated guitar and a buoyant bassline on “Triumph,” and in the airy verses that build into a tough, determined chorus on “Wishing Well.”
Many of the songs on Rose Mountain deal with Paternoster’s ongoing battle with chronic mononucleosis, which became so severe in 2012 that the band went on hiatus from touring for nearly a year. “I just could not get my act together,” Paternoster says. “We had to take time off, I couldn’t sleep, I wasn’t eating.”

Writing about the pain and uncertainty that accompanied her illness proved cathartic for Paternoster, who was already paying more attention to her lyrics than she did in the band’s earlier days.
“A lot of time it was just an afterthought, and I would just punch in whatever fit phonetically,” she says. “From playing hundreds of shows, I’ve realized that people do actually listen to the words. And if they’re going to take the time to listen to the words I’m singing, then I ought to take just as much time to write something that’s well thought-out.”
If leaving room for Paternoster’s vocal melodies was part of the band’s strategy for Rose Mountain, working with producer Matt Bayles was the other part. With a deeply rooted DIY streak, Screaming Females had self-produced their previous releases (with Steve Albini engineering their 2012 LP Ugly and the 2014 concert album Live at the Hideout) before overturning a long-standing, self-imposed rule and deciding it was time to bring in outside help. “What’s the best way to challenge yourself as an artist? Do something you told yourself you’d never do,” Dougherty says.
Bayles is perhaps best known for his work on albums by heavy metal acts like Mastodon and the Sword, which helped make Screaming Females confident in their choice: they figured he would be right at home with a loud, raucous band. Bayles joined the group in New Jersey to offer advice on composition before the musicians spent a month recording the album with Bayles in Seattle. They delved more deeply than ever before into the intricacies of guitar tones and drum sounds, and experimented with subtle touches that you wouldn’t expect on a Screaming Females album: listen for the organ buried beneath the terse guitars on “It’s Not Fair,” or the eerie, distorted tack-piano that brings the title track home.
“It’s definitely the most eclectic record in terms of instrumentation and dynamics that we have done to date,” Paternoster says.
It’s a fitting way to celebrate 10 years together, a period that has taken the band from playing basement shows in their hometown of New Brunswick to touring with the likes of Dinosaur Jr., Ted Leo & the Pharmacists and Garbage, who teamed with Screaming Females to record a cover of Patti Smith’s “Because the Night.” They’ve been featured on NPR and performed on Last Call With Carson Daly, building an audience without losing the focus and drive that inspired them in the first place.
“It’s pretty amazing that the three of us have been this committed this way,” Dougherty says, and Paternoster agrees.
“At the end of the day, what we really try to do is challenge ourselves musically, so that the three of us remain interested in this project we love very much,” she says. “Hopefully we can continue to do so and make music for as long as it’s feasible for us to do so.”http://screamingfemales.com/

Street Eaters
STREET EATERS are a truewave/punk band from Berkeley+Oakland, CA that has drawn a range of sonic comparisons to bands from Wipers to Masshysteri, Autoclave to Drive Like Jehu, Huggy Bear to KARP, Warsaw to Sonic Youth’s "Bad Moon Rising". Their new album, "The Envoy" (Nervous Intent Records/Contraszt! Records), is a concept album based on the writing of famed dystopian, gender revolutionary, anti-authoritarian author Ursula K. Le Guin. "The Envoy" careens through a shifting musical/lyrical landscape underpinned by tension, fierce resolve, isolation, and the vastness of mental and physical space through a densely-layered, wild, heavy recording. Through it all, Street Eaters’ core maximized-minimalist aesthetic - saturated and overdriven bass, propulsive yet bombastic drumming, strong songwriting, and intense dual vocals - remain front and center.http://streeteaters.com/https://www.facebook.com/streeteatersband/

the Shiverettes
Snotty Calgary punks The Shiverettes throw unruly riffs up against a backdrop of cuntry-rock influence and spit rough, honest and tongue-in-cheek lyrics all over em. They're unabashedly feminist and don't shy away from hard truths and dark subjects. The band formed nearly four years ago with a desire to flip scripts and start important dialogues, all while channeling the riot grrrl mantra of Girls To The Front. The Shiverettes are pushing themselves to the front and making sure their voices are heard. After the release of their Just Three Songs cassette EP, a limited edition flexi of the song Stephen Harper, Suck My Dick, and inclusion on the Rock Against Harper compilation all in 2015, The Shiverettes released their much anticipated full length album on March 31, 2017 aptly titled 'Dead Men Can't Cat Call.' The Shiverettes are taking over and yanking Calgary punk into the deep end of the feminist pool. - https://www.facebook.com/theshiverettes/http://theshiverettes.bandcamp.com/

*This event takes place on the territory of the Blackfoot and the people of Treaty 7 Region in Southern Alberta, which includes the Siksika, the Piikuni, the Kainai, the Tsuu T'ina and the Stoney Nakoda First Nations. Calgary is also home to the Metis Nation of Alberta, Region III.